Magnum photographer Lorenzo Meloni first went to Libya after the uprising that led to the death of Gaddafi. His latest series of photographs from April and May depicts the exhaustion of fighters who have again been called to the front line. Many on the ground told him of the betrayal they felt after having been backed by U.S. airstrikes as they ousted ISIS from Sirte in 2016, only to be abandoned now. Libya has now become “a small Syria,” Meloni says. “There is fighting but no progress.”
Local Boys in Bradford 1972 Don McCullin – Near Checkpoint Charlie, Berlin 1961 Londonderry 1971 At the age of 83, British photojournalist Sir Don McCullin decidedly declared, “I’m not an…
At the age of 83, British photojournalist Sir Don McCullin decidedly declared, “I’m not an artist” — while standing inside a major retrospective of his work now on view at the Tate in London through May 6, 2019.
I went to Don McCullin’s current retrospective at Tate Britain with some trepidation. Both in terms of the things I knew the exhibition would ask me to look at, but also in terms of the stance the …
I went to Don McCullin’s current retrospective at Tate Britain with some trepidation. Both in terms of the things I knew the exhibition would ask me to look at, but also in terms of the stance the exhibition would take on photojournalism itself.
Lagoze found himself in a murky gray area of free speech and fair-use government products. U.S. citizens can already go on Pentagon-operated sites and download free military photos and video. Their tax dollars fund it, and federal government creations are not protected by copyright.
These are Goya’s Disasters of War, a series of 82 prints made between 1810 and 1820 that show the horrors of war and its aftermath during the Spanish Napoleonic Wars. They are etchings, not photographs, but they are complete in their depiction of atrocity; there is death, mutilation, torture, execution, rape, pillage, starvation, sorrow, disgust and despair in unflinching detail. They show the effect of war on the civilian population and, in his etchings of the aftermath of the war and the restoration of a flawed monarchy and church, the ways in which suffering, corruption and war are linked to wider structures of power.
Viktor Khabarov, 67, was a major in the Soviet military, working among the troops as a photographer. While the Kremlin made lofty decisions about the conflict from Moscow, he saw it close up, on the ground. From 1986 to 1989, he hopped in and out of Afghanistan on assignment for Red Star, the Soviet (and now Russian) military newspaper.
Even when photojournalists return from war zones physically unscathed, their experiences can continue to burden their psyches. They might suffer from post-traumatic stress disorder or anguish over their roles in witnessing human tragedy. But they do so to inform the public about the costs of war and to shape news coverage about global events. “When we look at these marvelous images, we find them compelling, moving, and sometimes shattering,” says neuropsychiatrist Dr. Anthony Feinstein. “We don’t think about the men and women who take the photographs.” In a new book, Feinstein aims to rectify that oversight.
He talked in Moscow with host Nathan Thornburgh, who worked alongside Kozyrev throughout Russia and the Caucasus while they were both at TIME magazine. They talked about the late great Stanley Greene, about traveling with mujahedin, and about why it was hard to quit war for good.
Mrs. Foley has a desperately keen understanding of what happens in a conflict zone. “Jim” was her son, the freelance photojournalist James W. Foley. He was kidnapped in 2012 while covering the Syrian civil war, held hostage for 21 months and brutally murdered in 2014 by members of the Islamic State in an execution filmed by his captors and released online. Many remember his death, but his mother and Mr. McCallum, who is painting a series based on Mr. Foley’s work, want people to remember his chronicle of war, its human cost and his humanity.
The psychiatrist Anthony Feinstein explores this complexity in his book, “Shooting War” (Glitterati Editions). Starting with a single, striking image from each photographer, Dr. Feinstein profiles 18 conflict photographers, including Don McCullin, Tim Hetherington and Corinne Dufka, and examines their motivations, traumas, and, most important, their resilience.
In its own way, the South Bronx itself was a war zone back in the 1980s. “I got here in ’86 and it was awful. Shootings every day, just really bad violence,” said Mike Kamber. He’d taken all the money he’d saved shooting photographs for The New York Times in actual war zones, and bought a building in the South Bronx in 2010.
Piggybacking on the recent release of the based-on-real-life drama “A Private War,” “Under the Wire” — sewn together from on-the-spot footage and interviews with colleagues — drops us into conflict zones with disorienting immediacy. Our primary guide is Paul Conroy, the plain-spoken British photographer who partnered with Colvin and was severely injured in the 2012 rocket attack in Syria that killed her and another reporter outright.
The recent biopic “A Private War” explores the interiority of war correspondent Marie Colvin’s life. But the documentary “Under the Wire,” featuring Colvin’s colleague, photojournalist Paul Conroy, painstakingly details Colvin’s final days before her death while reporting from Homs, Syria, in February 2012.
In this previous story on her commission for the eyeWitness to Atrocities app, Anastasia Taylor-Lind talked about truth in photography, the problem of creating stories that go beyond cliché and stereotype, and the dilemmas of being commissioned for an open brief to test out the eyeWitness App, an app intended to create time and place verifiable images of atrocity that will be admissible in a law of court.
In her first published collection of photographs, Of Love and War, photojournalist Lynsey Addario looks past her subjects’ impossible circumstances to show beauty and their humanity.
In her first published collection of photographs, Of Love and War, photojournalist Lynsey Addario looks past her subjects’ impossible circumstances to show beauty and their humanity.
It is April 1st, 2017 in Mosul, Iraq. Smoke rises from a recently fired mortar, and the atmosphere is eerily calm. Although far from the frontline, the area still carries risk. Egyptian photojournalist Asmaa Waguih is in Mosul to cover operations by US-ba
We speak to four female photojournalists working in hostile environments about the challenges they face and what drives them, despite the inherent risk in their work.
